round Four -- stage-by-stage format

Throughout the last forty years, the works of Frank Auerbach and the very specific world they evoke have been an inescapable presence in British figurative painting. Together with the equally powerful works of his two somewhat older colleagues, Francis Bacon and Lucian Freud, and those of Auerbach's close contemporary and friend Leon Kossoff, with whom he studied under David Bomberg in the late 1940s and early 1950s, Auerbach has been a singular and uncompromising artistic force. All four artists have stood firm, holding up painting as the primary means of adding to the sum of useful art in the world. Their activity has taken place throughout a largely sceptical half century and more, as the idea of art as real image has moved away from material realisation through oil on canvas. For the twentieth century, from which culturally we have not yet escaped, was dominated by collage, photography and film, as far as two-dimensional depictions of the world are concerned.

And:

ni'o ca'o pi ro lo'e ro moi be lo'i pu nanca vo

no mei da poi finti ke'a fa la'o m Frank

Auerbach m zo'u ge da gi lo'e ge ja'a sai gi ge

se steci be fi lo'i munje gi to'e se sucta gi

te xargau be fa da no mu'ei se rivbi da da'o vi

lo'e brito nu fe zi'o nai di cintyxra i a bu

zo'u ge ge loi ge dunli be fi lo'e ka ce'u

mutce lo'e ka ce'u vlipa gi se finti be re ge

ja'a ru'e tolci'omau gi gunkansa be a bu be'o

po'u la'o m Francis Bacon m a la'o m Lucian

Freud m gi lo'e co'e be lo'e jibni be a bu bei

lo'e ka ce'u ce'u ge cabna gi pendo ku be'o

po'u la'o m Leon Kossoff m noi ke'a e a bu ve

ckule fi'o ctuca la'o l David Bomberg l ca le

ge pa so vo so'i gi pa so mu so'u moi be lo'i

nanca gi a bu pu je ca ge ge carmi steci gi

jdari to'e tugranda gi larcu be zi'o vlipa i

le vo ta'e larfinti pu je ca ge sanli jdari gi

sarji lo'e nu lo'e nu cintyxra cu ralju lo'i se

zukte fi lo'e nu jmina fi loi ge selplifre gi

se larfinti be vi lo'e munje i le vo du cu

gasnu ca pi ro lo ge so'e roi so'u mu'ei krici

gi za'u fi'u re si'e be lo ctonanca ca ba'o lei

mu'e lo'e si'o lo'e vislarcu cu zasti pixra cu

binxo lo sepli be lo'e ge pu'u binxo lo marji

gi jalge be lo'e nu grasu se di'o lo fanbu'u

i ki'u bo le'e re no moi be lo'i nanca pa no no

mei be'o noi ma'a ku'u ba'o nai na rivbi ke'a

ja'a sai se ralmau lo'e jmajyxra e lo'e se

kacma e lo'e skina se ra'a lo'e ge relcimde gi

pixra be lo'e munje ni'o

Xorxes:

For the last forty years the work of Frank Auerbach has been

the only world, abstract, impossible to avoid in the British

painting scene. The equally very powerful works of his two

slightly older colleagues Francis Bacon and Lucian Freud, those

of his close contemporary and friend Leon Kossoff, with whom he

studied under David Bomberg in the forties and early fifties,

and himself have been intensely personal, firmly uncompromising,

artistically powerful. The four artists have been staunch

supporters of painting as the main activity for adding to the

productive works of art in the world. The four have acted during

a half century that for the most part would believe, and once

the idea that visual art as an actual representation had become

separate from the materialization resulting from oil on a canvas,

because the 20th century, which we have not yet escaped, is

indeed less significant than collages and photographs and movies

when it comes to two dimensional images of the world.

lidaniyl:

> loi se cupra be la frank. aurbax.

> ca'o le purtei poi nanca li vono

> cu munje pe'a lo ka'inonlarcu

> gi'e se rivbi kakne noda ku'u le brito cimxra

>

> .i loi dunli cnigau se cupra be

> la fransis. beikon. .e la lucian. froid.

> poi ke'a jo'u ru kulnu cmima zi'e

> noi ke'a milxe slabu be'o

> .e tu'e la lian. kosaf.

> noi la deivid. bombrg. cu ctuca ke'a jo'u ru

> ca'o loi reno nanca poi li pasovono krasi ke'a tu'u

> .e ru

> cu pu mutce ke sevzi stace ke'e

> gi'e prane curve zukte

> gi'e larcu cnigau

>

> .i lo vo larfi'i pu mutce zanru

> le du'u le nu cimxra zukte

> cu ralju lo'i tadji be zenba be se pilno ke larcu se cupra

>

> .i loi so'i prenu

> ca'o ko'a goi le purtei poi nanca li muno

> pu krici le du'u le larcu

> pu binxo le sepli be loi krati poi

> jalge le marji ctile .e le bukrkanva

>

> .i ca'o le renomoi ctonanca ku

> lo kacmyxra .e lo girxra .e lo -mu'uxra

> cu zmadu ralju be fo lo plita pixra be le munje

>

> .i lo vo larfi'i cu gunka ca'o ko'a

kreig:

The many productions of Frank Aurbakh during the past forty years are a

'world' of representors of zero art and can be avoided by nobody in the

british moist-picture culture. The many equal newdoing productions of

Francis Bacon and Lucian Froid, who along with him was culturally a member

and who was gently familiar, - and Lian Kosaf, who David Bomeberg taught

along with him during the many twenty yearses which began with 1940 - and

he, were much and selfly honest and perfect pure volitional ones and artsy

newdoers. The four art-inventors strongly approve of the fact that

moist-picture volitional ones are principle in the set of methods of

increase of use and artwork. The many people, during the past which was in

year fifty, believed that art became separate from the many representors

which are results of material style and canvas. During the twentieth

century, the photographs and the group pictures and the moving pictures were

all more principal, connected with the planar pictures of the world. The